Susohiki/Hikizuri [ edit ] A geisha's formal susohiki kimono, displaying a kurotomesode-type pattern on the kimono's elongated skirt Before WWII, the length of women's kimono sleeves varied, with sleeves gradually shortening as a woman got older. During WWII, due to shortage of fabric, the 'short' length of women's kimono sleeves became standardised, and post-WWII, the realm of long kimono sleeves was narrowly curtailed to the realm of furisode only – formal young women's and girl's kimono, where previously longer sleeves were seen on other varieties of dress, both formal and informal. Pre-WWII women's kimono are recognisable for their longer sleeves, which, though not furisode length, are longer than most women's kimono sleeves today. Both geisha and maiko wear variations on common accessories that are not found in everyday dress. As an extension of this, many practitioners of Japanese traditional dance wear similar kimono and accessories to geisha and maiko. Costume History in Japan - The Kamakura Period". iz2.or.jp. The Costume Museum . Retrieved 13 June 2020.

Hōmongi are first roughly sewn up, and the design is sketched onto the fabric, before the garment is taken apart to be dyed again. The hōmongi's close relative, the tsukesage, has its patterns dyed on the bolt before sewing up. This method of production can usually distinguish the two, as the motifs on a hōmongi are likely to cross fluidly over seams in a way a tsukesage generally will not. [53] However, the two can prove near-indistinguishable at times.a b c d e f "Introduction Of Furisode, With Obi And Kimono Accessories | かふぇきもの Cafekimono". cafe-kimono.com. 13 February 2020.

In the present day, many yukata are brightly coloured, featuring large motifs from a variety of different seasons. For women, they are worn with either a hanhaba obi (half-width obi) or a heko obi (a soft, sash-like obi), and are often accessorised with colourful hair accessories. For men, yukata are worn with either an informal kaku obi or a heko obi. Children generally wear a heko obi with yukata.

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a b c d e Dees, Jan (2009). Taisho Kimono: Speaking of Past and Present (1sted.). Milano, Italy: Skira Editore S.p.A. ISBN 978-88-572-0011-8.

Watson, William, ed. (1981). The Great Japan Exhibition: Art of the Edo Period 1600-1868. London: Royal Academy of Arts. pp.222–229. [A number of visual examples of Edo-period kosode, with a variety of sleeve lengths and proportions showing the variation in style and shape throughout the era.] Fukatsu-Fukuoka, Yuko (2004). "The Evolution of yūzen-dyeing Techniques and Designs after the Meiji Restoration". Textile Society of America Symposium Proceedings (475). University of Nebraska - Lincoln. {{ cite journal}}: Cite journal requires |journal= ( help) a b "Kimono Seasonal Flowers, Motifs, and More: June". thekimonolady.blogspot.com. 16 October 2012. Archived from the original on 5 January 2022 . Retrieved 26 August 2022. (Translated from the original Japanese: 茶席 の きもの を 学ぶ: 季節 ごと の 装い[Learning Kimono for Tea Ceremony: Dressing for each season] (in Japanese). Archived from the original on 27 July 2008 . Retrieved 26 August 2022. ) Modern kimono are widely available in fabrics considered easier to care for, such as polyester. Kimono linings are typically silk or imitation silk, and often match the top fabric in fibre type, though the lining of some casual silk kimono may be cotton, wool or linen.Several different types of kimono exist. These varieties are primarily based on formality and gender, with more women's varieties of kimono existing than men's. Susohiki ( lit. 'trailing skirt') (also known as hikizuri) are women's kimono with a specialised construction that allows them to be worn trailing, with a deep-set and widely-spaced collar. Susohiki are extremely long kimono worn by geisha, maiko, actors in kabuki and people performing traditional Japanese dance. A susohiki can be up to 230cm (91in) long, and are generally no shorter than 200cm (79in) from shoulder to hem; this is to allow the kimono to trail along the floor.

Sharnoff, Lora (1993). Grand Sumo: The Living Sport and Tradition. Weatherhill. ISBN 0-8348-0283-X.In the past, a kimono would often be entirely taken apart for washing, and then re-sewn for wearing. [22] This traditional washing method involves two steps: taking the kimono apart and washing each piece ( toki arai) and then stretching each piece of a kimono onto a board to dry after they have been washed and starched ( arai hari). [57] Because the stitches must be taken out for washing, traditional kimono need to be hand sewn. The process of traditionally washing kimono is very expensive and difficult and is one of the causes of the declining popularity [ citation needed] of kimono. Modern fabrics and cleaning methods have been developed that eliminate this need, although the traditional washing of kimono is still practiced, especially for high-end garments. It was during the Taishō period that the modern formalisation of kimono and kimono types began to emerge. The Meiji period had seen the slow introduction of kimono types that mediated between the informal and the most formal, a trend that continued throughout the Taishō period, as social occasions and opportunities for leisure increased under the abolition of class distinctions. As Western clothing increased in popularity for men as everyday clothing, the kimono industry further established its own traditions of formal and informal dress for women; this saw the invention of the hōmongi, divisions of tomesode (short-sleeved) kimono for women, and montsuki hakama. [18] : 133-134 The bridal kimono trousseau ( oyomeiri dōgu), an uncommon practice of the upper classes in the Edo period, also became common throughout the middle classes; [18] :67, 76 traditions of kimono bridalwear for marriage ceremonies were also codified in this time, which resembled the bridalwear of samurai-class women. [18] :82, 93, 146 Standards of kitsuke at this time began to slowly graduate to a more formalised, neatened appearance, with a flat, uniform ohashori and a smooth, uncreased obi, which also resembled the "proper" kitsuke of upper-class women. However, kitsuke standards were still relatively informal, and would not become formalised until after World War II. In the late 19th and early 20th century, women's juban transitioned from being mostly red with bold white motifs to being white or light pastel colours. The dye technique previously used to achieve this, beni itajime, fell out of fashion and knowledge and was rediscovered in 2010. [51] :1 Hadajuban [ edit ]